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THE NARRATIVE OF THE GENERATION BOHEMIA 80 '

I was reading the blog of Gustavo Faverón Patriau
http://puenteareo1.blogspot.com
about poetry groups, standing out among the collective efforts of the twentieth century, those that characterized avant-garde, Dadaism, Futurism, Surrealism. Then your article and the opinions of others experiences mention local group of poets, highlighting, including the most serious and lasting, Zero Hour, and culminating in Kloaka and Neon. The relevant question is: what happened to the narrative? Except the group's experience Narration (Oswaldo Reynoso, Miguel Gutierrez, Roberto Reyes Tarazona, Augusto Higa, Antonio Gálvez Ronceros), it seems that the pursuit of collectivism has been elusive to gender.

Here we meet the narrator. I think the last group experience would be in full turn of the century, was led by the narrators of the 80 '. It was a strong and large group from 1986 and lasted until 1992, which contained, among other Cromwell Jara, Mario Choy, Mario Bellatín, Aída Balta, Mariella Sala, Pilar Dughi, Mario Suarez, Jorge Valenzuela, Percy Pereira Dante Castro, etc. The meetings were attended by narrators who are then divided between "full" or permanent "fraternal" or traveling. And so we visited such diverse authors and Juan Carlos Mústiga, Luis Guillermo Nieto Degregori or Nino de Guzman. We collaborate with our older brothers disinterested narration group, especially Oswaldo Reynoso, Miguel Gutierrez and Reyes Roberto Tarazona. We

we read, we felt, we suggested, we learned. Detachment, joint collaboration, honesty in fraternal criticism, were characteristic of a group that refused to have name and ideology. The latter was a birth defect, a factory fails to undermine the drive end.


why groups tend



critical rain very acidic against communalism, the benefit of individualism and autonomy of the writer. These last three words are very attractive and apparently reasonable. The writer has the illusion of being autonomous, unique, irreplaceable and inalienable. But many forget that it is a social product, that behind them there is an incalculable amount of human efforts of others and condensed believes that individuality is unique. The writers most fanatical of individuality and autonomy are the slaves of the laws of the market, from the constraints of publishers and merchandisers. The truth is that since we started with the first drafts consulted a favorite teacher and friends and classmates, and what we were supposed collectivizing intimate and individual. That's what makes groups so blatant, you represent and organized. At least, in principle, groups can articulate its operation positively influencing the subject to adhere to them.

the group will always be broken by the weakest link. Individualism, megalomania, selfishness and professional jealousy, corrode and break the collective effort. In a society that worships individualism and instill in its neoliberal version repudiating the union life, collectivism and community organization, these diseases thrive naturally. As is seen in the horizon a new dawn for humanity, when the old society is dying and the story suffers from the pains of childbirth, emerges the need to form groups and collectivization of artistic experience.





happened to us in 80 '
meeting
Our habit was born in 1986, when war and internal bleeding after six years in Peru. The group, which had a literary purpose, could not cleave to the literature of historical context, deaf to human suffering and the crisis affecting the country. Our meetings were enjoyable, stocked with wine and food, but many of them were made in the light of candles. Blackouts, car bombs, blowing in the distance, sirens howling, rake operations, curfews, state of emergency, etc.. , Were the real context of letters constituting paradise. The most logical is that a group of intellectuals manifests against barbarism, as it was at that time the abundance of mass graves, missing students, killing of prisoners, systematic violation of human rights. can not deny that the group had as Silvio who said: "The city is crumbling and I sing." The fear of taking a position defined and optical illusion in a pure literary horizon that never existed, they were charging proportions.

fire experience occurred before the coup of Fujimori and the fascism of the country. The experience cousin was the arrest of novelist Miguel Gutierrez, who had given us his company and tips repeatedly. One of our elder brothers, Narrative Group, was held in conditions of psychological torture, and the group he belonged-now-manifest itself. Here is a petition of signatures of writers for the freedom of Miguel Gutierrez. But to achieve that many firms, there was resistance to overcome, selfishness and cowardice without a name. Best would say unprecedented, but with names.

polarization within the group could not be between walkers and non-walkers as someone wanted to caricature, but between those who were sure we walked toward totalitarianism and covertly who thought that totalitarianism was not only inevitable but "necessary" to "urgent." It was no coincidence that a narrator is assimilated to the 80 police forces and provide their best professional efforts in emergency areas.

When the government remained in the hands of one person (and his famous adviser), culture suffered the ravages of intolerance and even the literary Bohemia from downtown became deserted. The group of writers of the generation 80 had its last meeting before the coup status April 5, 1992. From there, amidst the diaspora of writers, one in the group managed to save the healthy habit of calling literary circles.





SERVED ALL THIS DOES

one hand I gratitude to the fable of the two friends and the bear, told by Aesop and Phaedrus and Samaniego repeated. Perhaps it would be desirable Miguel Gutierrez releea this sobering tale. On the other hand, I recall with some nostalgia the literary age of innocence. As we have said before: we read, we correct, we help and we even publish. Those who worked in the media did everything possible to comment in newspapers and magazines to members of the generation 80, are the group or not. The relationship we had with writers of previous generations, as the narration group, was a free teaching that we can not petty recognition and gratitude. Finally, I say, the groups serve to make us better for each other. Hopefully the new generations, especially in the narrative, do something similar.

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Literature of War: the "authentic" and the usurper

Last night I was at a popular bar frequented by poets and storytellers. After a long time I found friends who had lost it a year ago and I caught up the literary world. What surprised me is that tell me something directly involved: a document out of a provincial meeting of writers, poorly judged my literature of war. The argument that would wield my detractors, according to friends last night, is not to have fought in the PCP-Sendero Luminoso and therefore did not participate in the war "popular."

I have not read the text, but I can clarify some things. One of them is that they never had belonged to the PCP-SL. For reasons of training Marxist would never have agreed with the metaphysics of fundamentalism gonzales. Much less was now applying the "doctrine of justification" to conceal the delivery of Comrade Gonzalo cowardly and dishonorable claudication. The Gonzales is religion, not science, therefore we must have faith to believe in his great theological virtues.

There are other explanations that are historically accurate. The war had more players than those who are self-contained in the rebel groups. While some of the key players we have in the armed forces (the state), the PCP-Sendero Luminoso and MRTA were not the only ones to spend their gunpowder and dynamite. Let's give an example: the MIR resurfaced in the mountains of Santiago de Chuco, Liberty, in the early 80's with a column were supported armed peasant. This was a Maoist faction of the MIR who did not survive the siege the armed forces and the Shining Path sectarian harassment. The latter demanded the dissolution of the MIR guerrillas and their incorporation into the PCP-SL in the arbitrary conditions imposed on them. Let

provide another example: Ricardo Uceda's book "Death in the little Pentagon" the author is guilty of lightness and points to the formation of two separate military aircraft in two games of Izquierda Unida. The information is accurate, (though in reality there were three), as in the legal left, those who bet on elections as the main form of struggle, also armed struggle brewing germs. Ricardo Uceda luckily did not write details. I appreciate your silence. But

State violence had suffered it all, walkers and non walkers and non MRTAs MRTAs. And the clash of the working class against the bourgeois state was not the exclusive or exclusive of armed groups. The national strikes, street fights, taking of local roads, had a vast range of political actors.

For these and other reasons I hold the following: The literature of political violence occurred in the 80 -90 does not belong to an armed group of those who fought or those who suffered. It was not necessary to have belonged to this group to suffer imprisonment, torture or exile, or to make it literature. A narrative theme may be addressed effectively by those who have talent, is assisted by the collective experience and draws from its own investigations. The most painful is to see publications who did participate and do not express themselves in literature.

still some people in the name of fundamentalism Gonzales dare to pontificate about literature and social commitment, on art and political commitment. The funny thing is they are called "Maoists" and poverty of intellect does not know how to interpret what he meant by Mao Ze Dong in his thesis on art and literature. This is no longer a political problem, but the interpretation of texts or reading comprehension. Let's see what light wrote the great helmsman of the Revolution China:



"For progressive they are politically, a work of art that has no artistic value, no force. That is why we oppose both works of art with a wrong political views, and the creation of works 'style poster and slogan' successful work in political terms but lacking in artistic power. "

(Mao, spoke at the Yenan Forum on Art and Literature, 1942).
Returning to the case of the "authentic" versus "Pharisee" I suggest that the literature of war must be differentiated from the testimony, the trial and autobiography. Even in these genres paraliterarios, you need to write well. The narrative of war can not fall into the exclusivity of functionally illiterate and self-proclaimed "legitimate stakeholders", leave the monopoly of the field to play and to assume the creative act with parameters outside the literature. Literary creation must bear fruit among those directly involved in the conflict. This will require you to shed the straitjacket imposed an erroneous and castrating political line. As they come to the office, they should understand that the great revolutionary writers distinguished for his humility, a prerequisite for learning.
When that did not automatically fall from the sky, I'm prepared emotionally for literary and ideological confrontations. My work will be judged with glasses extraliterary because "no member of the party" and because I am against fundamentalism gonzales metaphysical. But be warned: do a literature class is not the same as doing a literature of the party. Class consciousness is something different (although it should not always be others) to the organic militancy. It said something criticizing Cesar Vallejo Mayakovsky, author of works 'style poster and slogan' apparatus writer, poet, subject to directives.